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Contributing editor Tad Simons is an award-winning journalist whose writing on the local arts scene has appeared in the Twin Cities Reader, City Pages, St. Paul Pioneer Press, American Theatre magazine, BackStage, Variety and the Washington Post. Over his 25 year career, Tad has covered theater, books, music, visual arts, dance, film, and performance art (including politics). Tad’s articles and essays on these and other subjects have won more than 30 local and national awards for editorial excellence.
This year, the Walker Art Center's artist-designed mini-golf course features two eight-hole courses, both of which offer some fiendishly difficult—and entertaining—holes.
Everyone loves a good horse story, it seems—even if they already know the plot. And War Horse is a great horse story, one virtually everyone in America knows from the beloved Steven Spielberg movie, and one that audiences around the country are reliving through the Broadway road-show theater production stabled at The Orpheum for the next ten days.
So, Block E—the saddest square block in the upper Midwest—has finally succumbed to the soul-sucking emptiness of its new reality, and the city, desperate to do something—anything—to counter the ever-expanding black hole of capitalism Block E has become, has decided to do what all cities do (including Detroit) after they’ve tried everything else: throw it to the artists.
Because the Walker Art Center's International Cat Video Festival at the Minnesota State Fair Grandstand Wednesday night was such an important event for cat-lovers everywhere, I have invited someone much more qualified than me to evaluate the pros and cons of the festival: my dog, Sarge.
If the Minnesota Orchestra’s management has made one thing perfectly clear during its year-long dispute with the musicians, the only thing it cares about are the numbers.
The big Claes Oldenburg exhibit—Claes Oldenburg: The Sixties—is finally open at the Walker Art Center, and, as Walker exhibits go, it’s definitely one of them.
What is there to say about Billy Crystal that hasn’t already been said? The man has been part of America’s collective comedic consciousness for almost forty years, and is never far away from a TV or movie screen near you.
America’s Puritanical stripe has never been wider or weirder than it was during the era of Prohibition (1920-33), when the federal government—pretending to act upon “the will of the people”—passed the 18th Amendment of the Constitution, outlawing the manufacture, distribution, and sale of demon alcohol.
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